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Grappling with the non-human is becoming a consuming human concern. Jolting design past anthropocentric outcomes demands a quixotic and confronting discourse for educators. This paper considers Graham Harman’s notion “not all objects are equally real, but that they are equally objects.” In this context, we explore design as layered conversations. Exchanges taking place with and through objects, as a choreographed ethical and moral exchange. We recognize the challenge for emergent designers/design students to consider “humans as objects” positioned within an ecosystem of other actants. This approach to design demands a recalibration of “making-thinking” past humancentered design methods. As teachers, how we locate this conversation within a design education milieu presents a double bind. First, perceiving design as engaged in human to human conversations. Second, design is solution focused and effective rather than harnessing the potential of seeing the human in a shared, interdependent, existence with the non-human. This paper takes the position that the human object lives amidst a plethora of objects populating the universe, including the universe itself. One example of this turn is the New Zealand Government, in 2017, recognizing “Te Awa Tupua as an indivisible and living whole, comprising the Whanganui River from the mountains to the sea, and all its physical and metaphysical elements.” Teaching design in the Anthropocene demands educators engage in visionary and radical imaginary approaches. [ABSTRACT FROM AUTHOR]

Analyzes the choreographic and cinematographic theater in New Zealand. Factors influencing the cinematography practice in the region; Reference on theater performances; Theme of theater plays presented; Characterization of choreographic theater.

Code switching is a linguistic term that identifies ways individuals use communication modes and registers to negotiate difference in social relations. This essay suggests that arts-based inquiry, in the form of choreography and performance, provides a suitable and efficacious location within which both verbal and nonverbal channels of code switching can be investigated. Blood and Books, a case study of dance choreography within the context of post-colonial Maori performance in Aotearoa/New Zealand, is described and analyzed for its performance of code switching. The essay is framed by a discussion of how arts-based research within tertiary higher education requires careful negotiation in the form of code switching, as performed by the author's reflexive use of vernacular and formal registers in the essay. [ABSTRACT FROM AUTHOR]

In this article I will address the ways in which my practice and philosophy, as a choreographic artist, inform my teaching methodologies in the Dance Studies programme at the University of Otago. These issues formed part of a in depth auto-ethnographic research inquiry (East, 2006) that traced the threads of eco-philosophical thinking through both my artistic and educational practices. Emergent themes derived from written and video records of my dance-making (a selection of eight dances from the past twenty-five years) were matched with key features of deep ecology as identified by eco-philosophers such as Gablik (1991, 1993), Goldsmith (1992), Naess (1973, 1989), Roszak (1992), Suzuki (1997) and Trussell (1980, 1989). These include: holism; identity and diversity; interrelationship; intuition and spontaneity; transformation; self determination; cooperation; and notions of community or place. They form the whenu (threads) that weave themselves through both my creative and educational processes and practices. For the purposes of this article I will very briefly discuss the implications of these eco-philosophical principles for my teaching, and in relation to my art making. I have termed this educational approach an eco-choreography pedagogy. [ABSTRACT FROM AUTHOR]

This article explores our human relationship to wind. In the context of 'wind meeting' - a transversal durational performance experiment where I joined three interior designers to meet with wind in The Performance Arcade, a live art festival on Wellington's waterfront, Aotearoa/New Zealand (2018) - 'meeting' was explored as medium, matter and movement. At The Performance Arcade a shipping container, open on all sides, was covered in a white curtain, fluttering and billowing – responsive to drafts, puffs, sweeps, gusts, whirls, gales, lulls – offering up an invitation for us, the wind meeters, as well as visitors, invitees, passers-by, watchers and publics to meet wind. Here, to meet wind was an encounter, a thinking through and with meteorological forces in a reposing of current flows of people, power and values. In addition, audiences were invited to join our 'meetings', held four times a day, where we gathered around a round table for a period of stillness and refreshment. With a draft agenda each meeting was a period of time to review, re-orientate, discuss and propose new strategies for meeting wind. The meeting format afforded playful, earnest, inclusive 'scores' that enabled us to meet other kinds of flows. Draft minutes and actions taken at these meetings became both scores for future tactics and a recording of outcomes. This essay unfolds - through my practice of choreography and performance - how meeting wind in all its physical, cellular, dimensional and metaphoric resonances has become a way of opening up the potential of thinking, encountering and inhabiting air space i.e. the space above, below and between us. [ABSTRACT FROM AUTHOR]

In this article, we focus on dance as intra- and intergenerational learning that cultivates corporeal knowledge held in common. Three interrelated projects reveal how danced connections between life stages develops an aesthetics of complex interaction and a mutuality of learning that enacts citizenry through communities in motion in the urban-scape. The projects approach dance practice through an expanded concept of choreography that takes into account the site, situation and life stage of dancers. We propose that moving together is a social choreography, a method for developing body-place awareness and civic participation, sharing experiences and bodily practices and performing relational complexity.

This paper introduces the concept of creative dexterity within the choreographic process and explores how contemporary dance conservatories are seeking to foster performers' skills in choreographic collaboration. Through investigating the institutional strategies of the London Contemporary Dance School, the Rambert School of Ballet and Contemporary Dance, the Danish National School of Contemporary Dance and the New Zealand School of Dance, we examine how and why a dancer's ability to flexibly adapt to different choreographic contexts is being sustained as a pedagogic goal within these conservatories. This has involved reviewing the curricula of these institutes and interviewing key institutional decision makers. In acknowledging the highly competitive market for dance graduates and the ever-shifting demands of a career in dance, it would appear these institutes are seeking to design their curricula to support the creative dexterity of their graduates. Through the identification of creative dexterity as a valued graduate attribute, and the locating of it within each curriculum, this paper provides a theoretical platform from which future research might examine the efficacy of such curricula designs. [ABSTRACT FROM AUTHOR]

Major controversies in moral and political theory concern the rights, if any, Indigenous peoples should have over their traditional knowledge. Many scholars, including me, have tackled these controversies. This Article addresses a highly important practical issue: Can we come up with a solid framework for resolving disputes over actual or proposed intellectual property rights in traditional knowledge? Yes, we can. The framework suggested here starts with a preliminary distinction between control rights and income rights. It then moves to four categories that help to understand disputes: nature of the traditional knowledge under dispute; dynamics between named parties to disputes; unnamed Indigenous claimants; and the various normative systems (for example, custom, U.N. documents, treaties, statutes, administrative regulations) within which disputes are decided. Throughout, examples that inform the framework come principally from Indigenous peoples in the Pacific rim. Lastly the Article tests the framework against some disputes over traditional knowledge in Samoa and New Zealand. This framework is comprehensive and sensitive to context. It is flexible regarding which normative systems are best suited to settling disputes. A test run shows that the framework helps to resolve practical legal issues. [ABSTRACT FROM AUTHOR]

This article documents a re-iterated workshop which was presented firstly to groups of undergraduate students in New Zealand, from a variety of disciplines, not all of which were arts based, who had elected to take a paper in 'creative process' as a minor component of their degree. For these undergraduate students, the workshop was designed to introduce a system for entering a 'zone', a creative pre-space, which would be an effective preparation for writing creatively. The same workshop was then presented to groups of postgraduate Master of Fine Art and Master of Design students to improve the quality of their journal writing. For these students, the workshop was designed to introduce a performative series of actions which would help to disrupt preconceived notions, and introduce new ways of thinking, about the relationship between writing and creative practice. In the workshop, all the students were invited to consider, with the careful scrutiny of a forensic scientist, the secret life of places. They were introduced to a system used by Japanese scroll artists who record the journey from a beautiful place to a beautiful view by making observational drawings of lateral views along the way, from regular vantage points, turning slowly through 180 degrees, until, having reached the destination, the beautiful view itself, their gaze is directed back to the starting point. In the process of recording their own small journeys in this way, with rolls of paper and charcoal, students described experiencing a slower, embodied form of knowing which not only enlivened them to the secret life of places, but also gave them a tacit understanding about writing structure. The students, at undergraduate and postgraduate stages in their education, became aware of themselves simultaneously travelling, in a self-directed way, through space, whilst also being defined by that space. They expressed an awareness of this reciprocal relationship verbally, through drawings and in critical, self-reflective writing. The students absorbed the exercise as part choreography, part script and as a metaphor for academic writing, in which the end (which can rarely be fully anticipated) must be signalled by the beginning, and in which the introduction is often finally drafted last. This article also explores the value of irregularity as a legitimate pedagogical strategy to inform journal writing, by empowering students to explore their own creativity through an autonomous process of critical self-reflection. The form of this article attempts to offer a model for a style of writing within this process which could be described as belonging to the genre of creative non-fiction. [ABSTRACT FROM AUTHOR]

Epidemiological evidence suggests that regular physical activity (PA) positively impacts individuals' mental health (MH). The PA-MH relationship may be critical among immigrants owing to psycho-social-cultural influences. This scoping review of 61 studies employed a holistic bio-psycho-socio-cultural framework to thoroughly investigate the complex relationship between PA (across life domains) and immigrants' MH in Western countries. A systematic search of five electronic databases (Medline, PubMed, Embase, PsycINFO and Anthropology Plus) was conducted to locate relevant articles. No limitations were applied to study design, age, gender, home country, MH condition or PA type. A bio-psycho-socio-cultural-informed conceptual model guided the analysis of the multi-domain PA-MH relationship. Immigrant PA-MH studies were conducted and reported most commonly in the USA (38%), Australia (18%), and Canada (11%). Overall, PA was positively related to MH. Each domain-specific PA appeared to be associated with unique MH-promoting pathways/mechanisms. Leisure-related PA may support MH by enhancing self-agency and minimizing risky behaviors, whilst travel- and domestic-related PA may promote self-accomplishment and physical engagement. Ethnic sports appeared to enhance resilience. Occupational-related PA was associated with either positive or negative MH, depending on the type of occupation. A bio-psycho-socio-cultural-informed model is required to gain an encompassing and integrated understanding of immigrants' health. The first iteration of such a model is presented here, along with an illustration of how the model may be used to deepen analysis and understanding of the multi-domain PA-MH relationship among immigrants and inform public health planners and practitioners. [ABSTRACT FROM AUTHOR]

Since 2015 many postgraduate dance students from the Beijing Dance Academy China, have completed a one-year Masters in Community Dance at the University of Auckland, New Zealand. This paper reflects on eight student's experience of their year of international study. Data gathered through semi structured interviews were examined through the threshold concept theory and we found that these students were challenged by teacher/learner relationships, academic research in dance studies, and classroom communications. The article makes recommendations to both the Beijing Dance Academy and the University of Auckland as this academic partnership matures. While this study is specific only to the two institutions involved in the research, it may provide insights that are common across other tertiary dance programmes for international dance students. [ABSTRACT FROM AUTHOR]

This paper is interested in thinking more about sexuality education at school. As such, it is concerned with a mundane and unacknowledged feature of the sexuality classroom--the mapping of movement. While human movement is a familiar focus of educational research, the movement of things is not. With reference to Barad's concept of intra-activity, the paper maps human-non-human movements and characterises these as a sexual choreography of schooling. Instead of asking what does movement mean or reveal about sexuality education, I attend to the event movement inaugurates. Predominantly theoretical, the paper weaves together ideas from conventionally disparate disciplinary fields. These include Edensor's concept of rhythm from geography, Eggermont's notion of the choreography of schooling from education, and Barad's spacetimemattering from quantum physics. This theorisation enables a recognition of movement as a force in human-non-human classroom intra-actions implicated in the becoming of sexuality education as event.